POP REVIEW : Santana and Promise Band Heat Up for Show in Anaheim

Shifting between the ferocity of a Mike Tyson hammering away at the body and the sweet gentleness of a purring tabby, guitarist Carlos Santana led his Promise Band through an evening of aggressive instrumental Latin/blues/rock at the Wiltern Theatre in Los Angeles on Friday that left the packed house screaming for more. But then, these fans loved everything the guitarist played and delivered several standing ovations during the show.

And while he didn’t exactly turn in a “Greatest Hits” show, Santana and his cohorts--Chester Thompson on keyboards, Alphonso Johnson on bass, Ndugu Chancler on drums, Chepito Areas on timbales and percussion and Armando Peraza on congas--included material from most of his Columbia albums.

The tunes ranged from “Savor,” a rhythm fiesta for the noted conguero Peraza--who slapped his congas with stinging, open-handed whaps--from his 1969 debut album, “Santana,” to “Bella” and “Hannibal” from his newest release, “Blues for Salvador.”

Strangely, he didn’t play such favorites as “Black Magic Woman” or “Oye Como Va.”

One thing for sure, Santana--still as thin as a slash and wearing a pink headband, sleeveless white T-shirt and white jeans--and his band played loud . They sometimes created such a roar that the leader’s patentable guitar sound--thick and gleaming and sinewy--could barely be heard above the deafening bedrock of rhythm.

But there were several moments--as on “Goodness and Mercy,” a duet between Santana and Thompson--when the players’ notes were soft, soothing and singing.

Santana opened with a bang, knocking out such riveting numbers as “Bailando” and “Kinesis,” tunes with brief melodies built over fomenting rhythm designed for soloing. And most featured the guitarist, either meandering about the stage or standing still, his knees bent, his face in a grimace, hitting long, stretched out notes or tagging one note over and over steadily, following this simplicity with a burst of rapid-fire complexity.

He was at his bluesiest on “Honk Kong Blues,” a number--sans percussionists--that had a taste of funk.

Johnson had one long solo, during which he switched from bass to Chapman stick, achieving piano-like chords and string ensemble effects. This inventive sequence led into “Cavatina,” an enchanting and mellifluous piece.

Later, Chancler let Areas have a seat at the drums he had been so resoundingly bashing and played a vibes solo on “Trying Again” that mixed his percussive and melodic sides.

Toward the end of the show, soprano saxophonist Wayne Shorter arrived to blow bittersweet notes on “Mandela” and the tender “Europa,” the latter one of the leader’s most memorable compositions. These numbers also allowed Thompson, on electronic grand piano, to offer solid, thoughtful ideas.

Shorter’s presence both tended to bring out Santana’s less rambunctious side and added a pleasing jazz dimension that gave the show a welcome change of pace.

Carlos Santana’s “Blues for Salvador” tour comes to the Celebrity Theatre in Anaheim tonight at 7:30 p.m. Tickets: $18.50. Information: (714) 999-9536.